August 2, 2025 • 13 mins
Kiwi screenwriter Sophie Henderson's been behind many New Zealand-produced hits, and she's drawn on her personal experiences for her next film.
Henderson's latest film - in which she also stars - made its debut at the New Zealand International Film Festival, and it's inspired by her time at Auckland’s Basement Theatre.
She says Workmates was inspired by her love of locally produced New Zealand theatre - and she says the Basement is in better shape now.
"I remember being at drama schools and going - if I could just work for Silo Theatre, I'd be happy. That was one of my first jobs, I'd worked at Silo for many years as an actor and then I went and ran the Basement Theatre."
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:06):
You're listening to the Sunday Session podcast with Francesca Rudgin
from News Talks EDB.
Speaker 2 (00:12):
Sophie Henderson is one of my favorite Kiwi screenwriters. She
writes a fabulous character. Her past work includes her first
screenplay for the short film fan Tail, one of my
faves definitely worth trying to find and check out, and
feature films Baby Done and The Justice of Bunny King.
On Friday, Sophie's latest film, in which she also stars,
had its world premiere at the New Zealand International Film Festival.
(00:34):
It's based on Sophie's own experience of working at Auckland's
basement theater. It's called Workmates.
Speaker 1 (00:40):
This is a professional production?
Speaker 2 (00:43):
Is this a professional theater? Is it an ice cream
container over a fire up?
Speaker 3 (00:56):
Does that not allowed? What do you think?
Speaker 2 (00:58):
Well, your building has not passed us foreignerness. You can
cancel people shows. Oh my god, I'm not even trying
to be a dick about this, but this place and
Sophie Henderson is in the studio with me. Good morning, Sophie, welcome. Hey,
I can't get I've got my button on now, so
that took a little while there. Apologies. It's lovely to
(01:20):
have you here fresh off the world premiere? How good
is it to have the film out into the world.
Speaker 3 (01:25):
Oh, it's so cool. It's an amazing night. On Friday.
It getting to share the film at the Civic Theater
to my favorite theater with all the community of people
we made it for. It's really special.
Speaker 2 (01:37):
Do you sit and watch it with you?
Speaker 3 (01:38):
And I did. Yeah, I haven't seen it in about
maybe you're like almost a year. I think, Oh, okay,
I watched it down, so it's pretty cool.
Speaker 2 (01:45):
So is that nerve wracking? Not just is the star
of the film but also the screenwriter? Are you sitting
there waiting to see whether they laugh at the right
moment and things like that.
Speaker 3 (01:54):
We decided like a little while, we were like, I
don't know if it is a comedy like this, it's
it's definitely a romance. But then I changed my mind
on Friday. I was like, oh, no, it's funny, always funny.
Speaker 2 (02:04):
It's really funny. Absolutely, yeah, it.
Speaker 3 (02:07):
Was very cool. Lots of rolling laughs all the way
for it. Good of Forrester and Chris Parker and oh yes,
very funny people.
Speaker 2 (02:16):
I'm going to use that line. It does the show
really have to go all though it's great. This is
a story of local theater, and you are a longtime
theater girl. Is it your first love?
Speaker 3 (02:27):
If it absolutely is. I remember being at drama school
and going if I could just work for Silo Theater,
I'd be happy, and that was one of my first jobs.
I've worked for Silo for many years as an actor,
and then I went and ran the Basement Theater after that,
which is what the film was based on. It's a
true story made untrue by exaggeration.
Speaker 2 (02:48):
And we'd like to say before we start talking about
this that the Basement Theater is now a safe and
sound fully you know, specter tis all the health and
safety boxes, because when you worked there, it wasn't.
Speaker 3 (03:03):
Yeah, So Workmates is about the time that I ran
the Basement with my best friend who I definitely wasn't
in love with, and all the dodgy all the illegal
things we did to keep open, like what we absolutely
put ice cream containers over the smoke alarms. We took
money from bad people to do good things. There were
(03:24):
lots of theater emergencies when I worked there, and it
was the best job I ever had.
Speaker 2 (03:29):
Oh what was it?
Speaker 3 (03:30):
It really was? Yeah, it was really I was addicted
to that job and I basically lived at the theater
and it was really hard to leave. Loved it so
much and the people we built it with.
Speaker 2 (03:43):
Isn't that interesting? Well, you've headed back to the theater.
Now you're three weeks into running the Silo Theater.
Speaker 3 (03:49):
Yeah, yeah, so cool. It's my dream. It's my absolute
dream to be doing that.
Speaker 2 (03:53):
So how different? How different is it when you know
you were managing the basement.
Speaker 3 (03:58):
It's quite different. It's much more well resourced. And yeah,
I get to program shows and compared to film as well,
I get to choose five or six plays for next
year and they will happen. Or is filmmaking it's like
it takes a long time to just get one film up.
It's yes, pretty magic.
Speaker 2 (04:20):
And then when you've created that program, what is your
input into the shows or is it just your job
to get them up and running.
Speaker 3 (04:27):
Well, I'm putting the teams together, I'm helping with casting,
I'm choosing directors. I'm also a big thing I want
to do is develop new works. So I've just commissioned
two plays in my first three weeks, very proud of
and I hope that by the time I leave it. It'll
be all New Zealand work.
Speaker 2 (04:45):
It's fantastic. Let's go back to the film inspired by
your time at the Basement Theater, and you actually managed
to set the film at the Basement Theater, which is
why some people are along a bit like think on
a minute, It's not as dodgy as.
Speaker 3 (05:00):
It seems in the film. We changed the name. We
changed into the Crystal ball Room, but there was quite
close to shooting the character's name was still Sophie and
it was still called the Basement and I'm glad we
changed it. Right.
Speaker 2 (05:14):
What has the reaction been from people in the theater
world to the film.
Speaker 3 (05:18):
I think they, you know, they feel real nostalgia for
that time in their life, Like it is a real
love letter to the arts. The film is about how
hard it is to make art at the bottom of
the world for hardly any money, but also how fun
it is to do that. Yeah, someone said it felt
the film felt like falling in love, which yeah, that
(05:40):
was one of my favorite reviews. And then someone from
like some when I didn't know, a stranger who's not
in the art said, oh, just made me feel nostalgic
for a life that I haven't lived, which is very nice.
Speaker 2 (05:53):
I think that's so true though, because these characters are
really interesting points in their life, aren't they They're they're
sort of it's it's it's you've got all that youth
and their energy and that passion to put into something
which needs it. It's kind of a first You know,
you're far entry into your career and it's hard to
let go. You have very intense friendships, and that's essentially
what the film explores.
Speaker 3 (06:14):
Lucy is so devoted to this job and so devoted
to her friend Tom, who she's almost definitely in love with,
and she would do anything for everything to stay the
same forever. She really believes that it's necessary to break
rules to create magic, and that fear there is more
important than audience members dying, which is different to me.
(06:35):
Promise that she's not me, She's the worst version of me.
She's me if I had never left the basement.
Speaker 2 (06:41):
So there's a little bit of you in there, but
you you know you're not Lucy. I mentioned in the
intro that you write great characters, and this film has
some fabulous characters in it. What is the key to it?
Do you think?
Speaker 3 (06:58):
I don't know? I think a lot like I often
start with things from my real life, well people, I know,
the character is heavily based on Sam Snetta, who's the producer,
and it's about our time running basement together. I think
I start everything like from myself, and then the story
grows and then belongs to characters I made up eventually.
Speaker 2 (07:21):
And as an actress, what do you like in a character?
That's a great question.
Speaker 3 (07:27):
I think I'm looking for transformation, so somebody who changes.
So I think most of my films are about deluded
characters who have some kind of coming of age. Man.
I think you can still come of age at any age.
Speaker 2 (07:41):
Absolutely. The when you step on set and you're shooting
a film and you've written it and you're starring in it,
where do those two roles kind of stop and start.
Are you fully focused as on being an actress who
is collaborating with a group of people to create a film,
(08:02):
or are you listening to lines coming out of other
people's mouths, going hang on, I don't really like that line,
or we could do better, or.
Speaker 3 (08:09):
Yeah, it's a I think when it's rolling, I'm absolutely
an actor and in the moment with my coworkers, my workmates,
but in between I'm checking without just going does this
sound right? Shall we change this? And I'm really, as
a writer, very open to im prov like it's so
important that everything feels real coming out of people's mouths,
so I think, yeah, I'm definitely not precious about lines.
Speaker 2 (08:33):
You've worked with Curtis, your husband, who is the director
on three films together, including workmates. How does that dynamic work?
Speaker 3 (08:42):
I mean, he's my favorite person to make films with.
We both get very obsessed and becaus like all we
talk about is our children and the film, and we
have meetings in the middle of the night and I
think and big creative conflicts, but I think that makes
the film better. Lost Fights.
Speaker 2 (09:03):
No, that makes sense. You were based in the UK
for a little while there because Curtis was actually working
on Stephen Merchants The Outlaws. Was there any temptation to
stay there?
Speaker 3 (09:13):
There was? I mean, I can work from anywhere. I've
got a literary agent in the UK and do writing
over there. But I think, deep down we just really
want to tell New Zealand stories, like our whole dream was,
you know, this international dream and work overseas and you know,
sort of get what you want and you lose what
you have. And I love New Zealand. It's important to
(09:35):
me to tell New zion stories and you know, the
money's not as cambat. This is what matters to us
and it means more to us.
Speaker 2 (09:44):
Would it be easy for you to keep projects up
and running if you were still in the UK compared
to New Zealand.
Speaker 3 (09:49):
Not the ones that I wanted to how necessarily you know,
there's yeah, it's tricky, it's but also we shot this film,
We've finished shooting and the day after we've flewt at
the UK, so we came back here to edit it.
Speaker 2 (10:02):
How long does it take to make a film from
the idea? Five years or five years or you're doing well,
that's good, but I mean it is a I think.
I mean, I watched this film and you make it
look so easy to kind of pull together a film
that is, you know, full of heart, but as I said, humor,
(10:24):
it's got you know, it's funny, and it's got these
well formed characters, and it's relatable and it's and it
looks easy, but it's not, is it.
Speaker 3 (10:31):
It's not. There's certainly an energy to this film, like
we shot it in twenty two days. I think you
can sort of feel that like energy and kind of
chaos within the film. I think you and it's all
instinct and you know you have to kind of be
present when you're making something that fast, but it does.
Speaker 2 (10:53):
It sort of unfolds though, like in a short space
of time to actual film.
Speaker 1 (10:56):
Yeah.
Speaker 3 (10:57):
Right, And we're working in a place that I used
to work. That character has the same job as me,
she's wearing some of my clothes. And we hired all
the actors off from the theater world, so we've worked
with every single one of them before, so there was
a shorthand. And there's a like me and Matt who
plays Tom, we've worked together many many times in our
(11:17):
careers and so you know there's there's a true friendship
there that I think you can see on the screen
as well.
Speaker 2 (11:23):
No, absolutely, So where does the film go from here?
It's going to have a general release on August of
twenty first, which is really exciting if people miss it
in the festival. But where does it go from here?
How do you get it out and about?
Speaker 3 (11:34):
We're going to Melbourne International Film Festival next and then
we have a brilliant distributor, mad Man, who also has Yeah, done.
I can't even talk about it's a secret. This is OK,
it's a secret I can't say.
Speaker 2 (11:46):
But it's going to travel.
Speaker 3 (11:47):
It's going to travel.
Speaker 2 (11:48):
Oh, that is very exciting. That's very exciting. So you
this film is done. This is a big take. You're
back at Silo. Why did you take that job?
Speaker 3 (11:57):
I just loved that company so much. They gave me
my first job. They've they've taught me a lot lot
about what matters we're making art, and I just wanted
to look after this company. And yeah, it was a
bit of a strange career, but that job only comes
up every ten years. And yeah, but I'm going to
(12:20):
take a break from writing to do something that's you know,
theater is my first love, and I felt compelled to
be in service to that community that I love so much.
Speaker 2 (12:31):
Where is theater at New Zealand?
Speaker 3 (12:33):
Is it tricky? It's really tricky. Like I wrote this
film in that really long lockdown where all the theaters
were dark and all my friends are out of work
and a play I was in got canceled, and I
wanted to write this love letter to theater and audiences
who make theater possible. I think it's still not recovered,
(12:54):
and I think it's you know, if you love theater,
you've got to come to theater. There will be no theater.
Speaker 2 (13:01):
So, as you mentioned, you know, this is going to
be your full time job for a bit, so you're
going to have a little pause on the writing. And
I was a bit worried about that, but you didn't
mention to me before that. You might have just completed
a few other scripts that are just sort of sitting
there waiting to be finished.
Speaker 3 (13:14):
Three scripts before I started this job, so I will
that's still in development. But yeah, it takes a little
while to get those up and I'm gonna work at
Silent for the next four or five.
Speaker 2 (13:24):
Years and hopefully spend some time traveling the world to
festivals where your fabulous film will play. Fingers cross. Thank you, Sophia.
It's a great film. Really loved it, and thank you
so much for coming in. Look if you missed the
world premiere of Workmates at the New Zealand International Film Festival,
fear not. As I mentioned, it is going to be
released in cinemas nationwide on August the twenty first.
Speaker 1 (13:48):
For more from the Sunday session with Francesca Rudkin, listen
live to news talks it'd be from nine am Sunday,
or follow the podcast on iHeartRadio
You're listening to the Sunday Session podcast with Francesca Rudgin
from News Talks EDB.
Speaker 2 (00:12):
Sophie Henderson is one of my favorite Kiwi screenwriters. She
writes a fabulous character. Her past work includes her first
screenplay for the short film fan Tail, one of my
faves definitely worth trying to find and check out, and
feature films Baby Done and The Justice of Bunny King.
On Friday, Sophie's latest film, in which she also stars,
had its world premiere at the New Zealand International Film Festival.
(00:34):
It's based on Sophie's own experience of working at Auckland's
basement theater. It's called Workmates.
Speaker 1 (00:40):
This is a professional production?
Speaker 2 (00:43):
Is this a professional theater? Is it an ice cream
container over a fire up?
Speaker 3 (00:56):
Does that not allowed? What do you think?
Speaker 2 (00:58):
Well, your building has not passed us foreignerness. You can
cancel people shows. Oh my god, I'm not even trying
to be a dick about this, but this place and
Sophie Henderson is in the studio with me. Good morning, Sophie, welcome. Hey,
I can't get I've got my button on now, so
that took a little while there. Apologies. It's lovely to
(01:20):
have you here fresh off the world premiere? How good
is it to have the film out into the world.
Speaker 3 (01:25):
Oh, it's so cool. It's an amazing night. On Friday.
It getting to share the film at the Civic Theater
to my favorite theater with all the community of people
we made it for. It's really special.
Speaker 2 (01:37):
Do you sit and watch it with you?
Speaker 3 (01:38):
And I did. Yeah, I haven't seen it in about
maybe you're like almost a year. I think, Oh, okay,
I watched it down, so it's pretty cool.
Speaker 2 (01:45):
So is that nerve wracking? Not just is the star
of the film but also the screenwriter? Are you sitting
there waiting to see whether they laugh at the right
moment and things like that.
Speaker 3 (01:54):
We decided like a little while, we were like, I
don't know if it is a comedy like this, it's
it's definitely a romance. But then I changed my mind
on Friday. I was like, oh, no, it's funny, always funny.
Speaker 2 (02:04):
It's really funny. Absolutely, yeah, it.
Speaker 3 (02:07):
Was very cool. Lots of rolling laughs all the way
for it. Good of Forrester and Chris Parker and oh yes,
very funny people.
Speaker 2 (02:16):
I'm going to use that line. It does the show
really have to go all though it's great. This is
a story of local theater, and you are a longtime
theater girl. Is it your first love?
Speaker 3 (02:27):
If it absolutely is. I remember being at drama school
and going if I could just work for Silo Theater,
I'd be happy, and that was one of my first jobs.
I've worked for Silo for many years as an actor,
and then I went and ran the Basement Theater after that,
which is what the film was based on. It's a
true story made untrue by exaggeration.
Speaker 2 (02:48):
And we'd like to say before we start talking about
this that the Basement Theater is now a safe and
sound fully you know, specter tis all the health and
safety boxes, because when you worked there, it wasn't.
Speaker 3 (03:03):
Yeah, So Workmates is about the time that I ran
the Basement with my best friend who I definitely wasn't
in love with, and all the dodgy all the illegal
things we did to keep open, like what we absolutely
put ice cream containers over the smoke alarms. We took
money from bad people to do good things. There were
(03:24):
lots of theater emergencies when I worked there, and it
was the best job I ever had.
Speaker 2 (03:29):
Oh what was it?
Speaker 3 (03:30):
It really was? Yeah, it was really I was addicted
to that job and I basically lived at the theater
and it was really hard to leave. Loved it so
much and the people we built it with.
Speaker 2 (03:43):
Isn't that interesting? Well, you've headed back to the theater.
Now you're three weeks into running the Silo Theater.
Speaker 3 (03:49):
Yeah, yeah, so cool. It's my dream. It's my absolute
dream to be doing that.
Speaker 2 (03:53):
So how different? How different is it when you know
you were managing the basement.
Speaker 3 (03:58):
It's quite different. It's much more well resourced. And yeah,
I get to program shows and compared to film as well,
I get to choose five or six plays for next
year and they will happen. Or is filmmaking it's like
it takes a long time to just get one film up.
It's yes, pretty magic.
Speaker 2 (04:20):
And then when you've created that program, what is your
input into the shows or is it just your job
to get them up and running.
Speaker 3 (04:27):
Well, I'm putting the teams together, I'm helping with casting,
I'm choosing directors. I'm also a big thing I want
to do is develop new works. So I've just commissioned
two plays in my first three weeks, very proud of
and I hope that by the time I leave it. It'll
be all New Zealand work.
Speaker 2 (04:45):
It's fantastic. Let's go back to the film inspired by
your time at the Basement Theater, and you actually managed
to set the film at the Basement Theater, which is
why some people are along a bit like think on
a minute, It's not as dodgy as.
Speaker 3 (05:00):
It seems in the film. We changed the name. We
changed into the Crystal ball Room, but there was quite
close to shooting the character's name was still Sophie and
it was still called the Basement and I'm glad we
changed it. Right.
Speaker 2 (05:14):
What has the reaction been from people in the theater
world to the film.
Speaker 3 (05:18):
I think they, you know, they feel real nostalgia for
that time in their life, Like it is a real
love letter to the arts. The film is about how
hard it is to make art at the bottom of
the world for hardly any money, but also how fun
it is to do that. Yeah, someone said it felt
the film felt like falling in love, which yeah, that
(05:40):
was one of my favorite reviews. And then someone from
like some when I didn't know, a stranger who's not
in the art said, oh, just made me feel nostalgic
for a life that I haven't lived, which is very nice.
Speaker 2 (05:53):
I think that's so true though, because these characters are
really interesting points in their life, aren't they They're they're
sort of it's it's it's you've got all that youth
and their energy and that passion to put into something
which needs it. It's kind of a first You know,
you're far entry into your career and it's hard to
let go. You have very intense friendships, and that's essentially
what the film explores.
Speaker 3 (06:14):
Lucy is so devoted to this job and so devoted
to her friend Tom, who she's almost definitely in love with,
and she would do anything for everything to stay the
same forever. She really believes that it's necessary to break
rules to create magic, and that fear there is more
important than audience members dying, which is different to me.
(06:35):
Promise that she's not me, She's the worst version of me.
She's me if I had never left the basement.
Speaker 2 (06:41):
So there's a little bit of you in there, but
you you know you're not Lucy. I mentioned in the
intro that you write great characters, and this film has
some fabulous characters in it. What is the key to it?
Do you think?
Speaker 3 (06:58):
I don't know? I think a lot like I often
start with things from my real life, well people, I know,
the character is heavily based on Sam Snetta, who's the producer,
and it's about our time running basement together. I think
I start everything like from myself, and then the story
grows and then belongs to characters I made up eventually.
Speaker 2 (07:21):
And as an actress, what do you like in a character?
That's a great question.
Speaker 3 (07:27):
I think I'm looking for transformation, so somebody who changes.
So I think most of my films are about deluded
characters who have some kind of coming of age. Man.
I think you can still come of age at any age.
Speaker 2 (07:41):
Absolutely. The when you step on set and you're shooting
a film and you've written it and you're starring in it,
where do those two roles kind of stop and start.
Are you fully focused as on being an actress who
is collaborating with a group of people to create a film,
(08:02):
or are you listening to lines coming out of other
people's mouths, going hang on, I don't really like that line,
or we could do better, or.
Speaker 3 (08:09):
Yeah, it's a I think when it's rolling, I'm absolutely
an actor and in the moment with my coworkers, my workmates,
but in between I'm checking without just going does this
sound right? Shall we change this? And I'm really, as
a writer, very open to im prov like it's so
important that everything feels real coming out of people's mouths,
so I think, yeah, I'm definitely not precious about lines.
Speaker 2 (08:33):
You've worked with Curtis, your husband, who is the director
on three films together, including workmates. How does that dynamic work?
Speaker 3 (08:42):
I mean, he's my favorite person to make films with.
We both get very obsessed and becaus like all we
talk about is our children and the film, and we
have meetings in the middle of the night and I
think and big creative conflicts, but I think that makes
the film better. Lost Fights.
Speaker 2 (09:03):
No, that makes sense. You were based in the UK
for a little while there because Curtis was actually working
on Stephen Merchants The Outlaws. Was there any temptation to
stay there?
Speaker 3 (09:13):
There was? I mean, I can work from anywhere. I've
got a literary agent in the UK and do writing
over there. But I think, deep down we just really
want to tell New Zealand stories, like our whole dream was,
you know, this international dream and work overseas and you know,
sort of get what you want and you lose what
you have. And I love New Zealand. It's important to
(09:35):
me to tell New zion stories and you know, the
money's not as cambat. This is what matters to us
and it means more to us.
Speaker 2 (09:44):
Would it be easy for you to keep projects up
and running if you were still in the UK compared
to New Zealand.
Speaker 3 (09:49):
Not the ones that I wanted to how necessarily you know,
there's yeah, it's tricky, it's but also we shot this film,
We've finished shooting and the day after we've flewt at
the UK, so we came back here to edit it.
Speaker 2 (10:02):
How long does it take to make a film from
the idea? Five years or five years or you're doing well,
that's good, but I mean it is a I think.
I mean, I watched this film and you make it
look so easy to kind of pull together a film
that is, you know, full of heart, but as I said, humor,
(10:24):
it's got you know, it's funny, and it's got these
well formed characters, and it's relatable and it's and it
looks easy, but it's not, is it.
Speaker 3 (10:31):
It's not. There's certainly an energy to this film, like
we shot it in twenty two days. I think you
can sort of feel that like energy and kind of
chaos within the film. I think you and it's all
instinct and you know you have to kind of be
present when you're making something that fast, but it does.
Speaker 2 (10:53):
It sort of unfolds though, like in a short space
of time to actual film.
Speaker 1 (10:56):
Yeah.
Speaker 3 (10:57):
Right, And we're working in a place that I used
to work. That character has the same job as me,
she's wearing some of my clothes. And we hired all
the actors off from the theater world, so we've worked
with every single one of them before, so there was
a shorthand. And there's a like me and Matt who
plays Tom, we've worked together many many times in our
(11:17):
careers and so you know there's there's a true friendship
there that I think you can see on the screen
as well.
Speaker 2 (11:23):
No, absolutely, So where does the film go from here?
It's going to have a general release on August of
twenty first, which is really exciting if people miss it
in the festival. But where does it go from here?
How do you get it out and about?
Speaker 3 (11:34):
We're going to Melbourne International Film Festival next and then
we have a brilliant distributor, mad Man, who also has Yeah, done.
I can't even talk about it's a secret. This is OK,
it's a secret I can't say.
Speaker 2 (11:46):
But it's going to travel.
Speaker 3 (11:47):
It's going to travel.
Speaker 2 (11:48):
Oh, that is very exciting. That's very exciting. So you
this film is done. This is a big take. You're
back at Silo. Why did you take that job?
Speaker 3 (11:57):
I just loved that company so much. They gave me
my first job. They've they've taught me a lot lot
about what matters we're making art, and I just wanted
to look after this company. And yeah, it was a
bit of a strange career, but that job only comes
up every ten years. And yeah, but I'm going to
(12:20):
take a break from writing to do something that's you know,
theater is my first love, and I felt compelled to
be in service to that community that I love so much.
Speaker 2 (12:31):
Where is theater at New Zealand?
Speaker 3 (12:33):
Is it tricky? It's really tricky. Like I wrote this
film in that really long lockdown where all the theaters
were dark and all my friends are out of work
and a play I was in got canceled, and I
wanted to write this love letter to theater and audiences
who make theater possible. I think it's still not recovered,
(12:54):
and I think it's you know, if you love theater,
you've got to come to theater. There will be no theater.
Speaker 2 (13:01):
So, as you mentioned, you know, this is going to
be your full time job for a bit, so you're
going to have a little pause on the writing. And
I was a bit worried about that, but you didn't
mention to me before that. You might have just completed
a few other scripts that are just sort of sitting
there waiting to be finished.
Speaker 3 (13:14):
Three scripts before I started this job, so I will
that's still in development. But yeah, it takes a little
while to get those up and I'm gonna work at
Silent for the next four or five.
Speaker 2 (13:24):
Years and hopefully spend some time traveling the world to
festivals where your fabulous film will play. Fingers cross. Thank you, Sophia.
It's a great film. Really loved it, and thank you
so much for coming in. Look if you missed the
world premiere of Workmates at the New Zealand International Film Festival,
fear not. As I mentioned, it is going to be
released in cinemas nationwide on August the twenty first.
Speaker 1 (13:48):
For more from the Sunday session with Francesca Rudkin, listen
live to news talks it'd be from nine am Sunday,
or follow the podcast on iHeartRadio
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